Hans Hysing (1678–1753) stands as a notable figure in the landscape of early 18th-century British art, a Swedish-born painter who carved a successful career as a portraitist in London. While perhaps not possessing the towering fame of some of his contemporaries, Hysing played a significant role as a skilled practitioner, a respected teacher, and a conduit for artistic influences between Scandinavia and Great Britain. His life and work offer a fascinating glimpse into the bustling art world of London during a period of significant cultural and artistic development, bridging the late Baroque and emerging Rococo sensibilities.
Early Life and Artistic Formation in Sweden
Born in Stockholm in 1678, Hans Hysing's initial foray into the world of arts and crafts was not through painting but through an apprenticeship to a goldsmith. This early training in a meticulous craft, demanding precision and attention to detail, may well have instilled in him a discipline that would later serve his painterly pursuits. The transition from metalwork to painting was not uncommon, as both required fine motor skills and an eye for design.
The pivotal moment in Hysing's early artistic development came when he became a pupil of David von Krafft (c. 1655–1724). Krafft was a prominent German-born painter who had become the court painter in Sweden, succeeding his own uncle, David Klöcker Ehrenstrahl. Von Krafft was a leading portraitist in Sweden, known for his dignified and often grand depictions of royalty and aristocracy, working in a style that blended late Baroque formality with a degree of psychological insight. Under Krafft's tutelage, Hysing would have received a thorough grounding in the conventions of courtly portraiture, including composition, the rendering of rich fabrics, and the capturing of a sitter's likeness and status. This education laid a solid foundation for his future career.
Arrival in England and the Influence of Michael Dahl
Around the year 1700, seeking broader opportunities and a more vibrant artistic environment, Hans Hysing made the significant decision to move to England. London, at the turn of the 18th century, was a rapidly expanding metropolis, attracting talent from across Europe. For an ambitious young painter from Sweden, it offered the prospect of a larger pool of patrons and a more dynamic artistic scene than Stockholm could provide at the time.
Upon his arrival, or shortly thereafter, Hysing formed a crucial association with another Swedish-born painter already well-established in London: Michael Dahl (c. 1659–1743). Dahl had arrived in England much earlier, around 1682, and after a period of travel in Europe, settled permanently in London in 1689. He became a significant rival to the dominant portrait painter of the era, Sir Godfrey Kneller. Dahl's style was often seen as softer, more sensitive, and perhaps more graceful than Kneller's sometimes formulaic approach. He was particularly admired for his sympathetic portrayals of women and children.
Hysing is reported to have lived with Michael Dahl for many years and deeply assimilated his artistic style. This close relationship suggests more than just a shared nationality; it implies a mentorship or at least a profound artistic kinship. Hysing became, in essence, Dahl's foremost pupil and follower in England. He absorbed Dahl's painterly techniques, his approach to color, and his manner of capturing the character of his sitters. This connection was so strong that Hysing is often described as continuing Dahl's artistic tradition even after Dahl's death in 1743.
Hysing's Artistic Style and Approach to Portraiture
Hans Hysing's style, therefore, is best understood as an extension and adaptation of Michael Dahl's, situated within the broader context of early Georgian portraiture. His work generally exhibits a refined elegance, a concern for likeness, and a competent handling of paint. Like Dahl, Hysing's portraits often convey a sense of gentle introspection and a less imposing formality than some of the grander Baroque statements of the previous generation.
His portraits typically feature sitters in conventional but dignified poses, often three-quarter length or bust length, though he also undertook full-length commissions. Attention was paid to the rendering of textures – silks, velvets, lace – which were important indicators of social status. His palette, influenced by Dahl, likely favored rich but not overly flamboyant colors, with an emphasis on harmonious tonal relationships. While he may not have possessed the innovative flair of a Hogarth or the later brilliance of a Reynolds or Gainsborough, Hysing was a consistently skilled and reliable artist, capable of producing pleasing and accurate likenesses that satisfied the demands of his clientele.
The prevailing taste in British portraiture during Hysing's active years was still heavily influenced by the legacy of Sir Godfrey Kneller (1646–1723), who had dominated the field for decades. Kneller’s studio produced a vast number of portraits, often with a certain formulaic grandeur. Artists like Dahl, and by extension Hysing, offered a slightly different sensibility, perhaps more attuned to the evolving tastes that would later embrace the Rococo. Other contemporary portraitists included Charles Jervas (c. 1675–1739), who succeeded Kneller as Principal Painter to the King, and Jonathan Richardson the Elder (1667–1745), who was also a respected writer on art theory. Hysing operated within this competitive environment, finding his niche among patrons who appreciated his Dahl-influenced style.
Notable Works and Patronage
Hans Hysing's clientele consisted primarily of the gentry, aristocracy, and prosperous members of society. Several specific works are mentioned in connection with his name, providing insight into his practice.
One significant commission was the portrait of Charles Butler, 1st Earl of Arran (1671–1758). The reference to this as an 18th-century "full-length portrait" indicates a work of considerable ambition and status, as full-lengths were typically reserved for individuals of high rank and required greater skill in composition and anatomical rendering. Lord Arran was a prominent Jacobite sympathiser and Chancellor of the University of Oxford, so a portrait by Hysing would have been a prestigious undertaking.
Hysing also painted members of the colonial elite, such as William Byrd II of Westover (1674–1744), a wealthy Virginian planter, diarist, and member of the Virginia Governor's Council. It is recorded that Hysing painted Byrd's portrait during Byrd's time in London. The mention of a childhood portrait of Byrd and two adult portraits suggests a sustained relationship with the patron or his family, or perhaps copies made of an original. These commissions highlight the transatlantic connections of London's art world.
Another documented work is the portrait of Augustin Courtauld (1685/6–1751). Courtauld was a prominent London silversmith of Huguenot descent, part of a renowned family of craftsmen. This commission is interesting as it shows Hysing also catered to the affluent merchant and professional classes, not solely the landed aristocracy. A portrait of a fellow craftsman, albeit in a different field, underscores the interconnectedness of London's artistic and artisanal communities.
He is also known to have painted John Perceval, 1st Earl of Egmont (1683–1748), an Irish politician and a key figure in the founding of the American colony of Georgia. Such portraits were essential for establishing and maintaining a public image, and Hysing was clearly a trusted choice for such representations.
The general character of Hysing's sitters suggests he was well-regarded for his ability to convey dignity and social standing in a manner that was fashionable and accomplished. His works would have adorned the homes of influential people, contributing to the visual culture of the era.
Hysing as an Educator: The St. Martin's Lane Academy and Allan Ramsay
Beyond his own output as a painter, Hans Hysing made a lasting contribution to British art through his role as an educator. He was involved with the St. Martin's Lane Academy in London. This institution, initially founded by Louis Chéron and John Vanderbank around 1720, and later re-established by William Hogarth in 1735, was a crucial training ground for artists in the period before the Royal Academy of Arts was founded in 1768. It provided life drawing classes and a space for artists to congregate and learn, filling a void left by the decline of Kneller's earlier academy.
Hysing's most famous pupil was the Scottish painter Allan Ramsay (1713–1784). Ramsay, who would go on to become one of Britain's leading portrait painters and a favourite of King George III, arrived in London around 1733. He studied under Hans Hysing for a period, likely at the St. Martin's Lane Academy. Ramsay's biographer, Alastair Smart, notes that Hysing advised Ramsay to study heads by copying from models who had also posed for Sir Godfrey Kneller, indicating a practical and historically aware approach to instruction.
The training Ramsay received from Hysing would have been formative. While Ramsay soon developed his own distinct, more delicate and psychologically nuanced style, particularly after his studies in Italy (where he was influenced by artists like Francesco Solimena and Francesco Imperiali, also known as Imperiali), the foundational skills and professional introduction provided by Hysing were undoubtedly valuable. Hysing's connection to the Dahl tradition, with its emphasis on grace and sensitivity, may have resonated with Ramsay's own artistic inclinations.
Hysing's role as a teacher, therefore, extended his influence beyond his own canvases, contributing to the development of the next generation of British painters. This pedagogical aspect of his career is a significant part of his legacy.
The Artistic Milieu of Early Georgian London
To fully appreciate Hysing's position, it's important to consider the broader artistic milieu of London during his career. The early to mid-18th century was a period of transition. The grand Baroque style, epitomized by Kneller and before him Sir Peter Lely, was gradually giving way to lighter, more intimate styles, including the Rococo, which began to make its mark in decorative arts and, to some extent, in portraiture.
William Hogarth (1697–1764) was a towering figure, though his primary contributions lay in satirical narrative series and "modern moral subjects" rather than conventional society portraiture, although he did paint striking portraits too. Other portraitists active during Hysing's time included Joseph Highmore (1692–1780), known for his conversation pieces and literary illustrations as well as portraits, and later, Thomas Hudson (1701–1779), who became a leading portrait painter and was, for a time, the master of Sir Joshua Reynolds.
The art scene was also enlivened by foreign artists who, like Hysing and Dahl, sought their fortunes in London. For example, the French portraitist Jean-Baptiste van Loo (1684–1745) enjoyed considerable success in London during the late 1730s and early 1740s, bringing a more overtly French Rococo elegance. Engravers like George Vertue (1684–1756), who was also an antiquary and chronicler of the art scene (his notebooks are an invaluable source), played a vital role in disseminating images of paintings, including portraits, to a wider audience. Hysing was part of this vibrant, competitive, and evolving artistic community.
Later Years and Death
Hans Hysing continued to practice as a portrait painter in London throughout the first half of the 18th century. He outlived his mentor Michael Dahl by a decade, passing away in London in 1753 (some earlier sources cite 1752, but 1753 is now generally accepted). By the time of his death, the artistic landscape was already beginning to shift significantly. Allan Ramsay was well-established, and younger talents like Joshua Reynolds were on the cusp of transforming British portraiture.
Hysing's career spanned a period from the dominance of Kneller to the rise of a new generation that would define the golden age of British painting. He remained largely faithful to the stylistic principles he had absorbed from Dahl, providing a consistent quality of portraiture that appealed to a discerning clientele.
Legacy and Historical Evaluation
Hans Hysing's historical evaluation rests on several key contributions. Firstly, he was a competent and respected portrait painter in his own right, producing a body of work that captured the likenesses of many notable individuals of his time. His portraits, characterized by their understated elegance and solid craftsmanship, are valuable historical documents as well as works of art.
Secondly, his close association with Michael Dahl positions him as a key figure in maintaining and propagating a particular stylistic lineage within British portraiture – one that offered an alternative to the more rigid formulas of the Kneller school and emphasized a degree of sensitivity and grace. He effectively carried Dahl's influence into the mid-18th century.
Thirdly, and perhaps most significantly for the broader history of British art, was his role as a teacher. His tutelage of Allan Ramsay, even if for a relatively short period, connects him directly to one of the most important British painters of the 18th century. By providing Ramsay with foundational training and an entry into the London art world, Hysing played a part in the lineage that led to the flourishing of British portraiture.
While Hans Hysing may not be a household name in the same way as some of his contemporaries or successors, his career is a testament to the many skilled artists who contributed to the rich tapestry of Georgian art. He represents the dedicated professional who, through consistent work and a commitment to his craft, earned a respectable place in a competitive field. His journey from a goldsmith's apprentice in Stockholm to a sought-after portrait painter and teacher in London is a story of successful artistic migration and adaptation, reflecting the cosmopolitan nature of the 18th-century art world. His influence, both direct and indirect, helped shape the course of portrait painting in Britain.
